A lot of it is actually very imaginative as well, some of the most inventive and eye-popping of the early Betty Boop cartoons to me. Furthermore, the black and white animation is extremely good, smooth, meticulously detailed and well drawn with the black and white not looking too primitive. The cartoon's thin on plot, but the atmosphere, humour and visual style more than compensate and keep things afloat. 'Betty Boop's Birthday Party' is not quite up there with Betty's best, but is wonderfully bizarre and never less than enormously entertaining, with some very imaginative, insane and very funny sight gags. The rest of the gang are similarly enormously entertaining. The charm, sensuality and adorability factors are here and she's fun to watch. The character of Betty Boop, one of their most famous and prolific characters, may not be for all tastes and sadly not as popular now, but her sex appeal was quite daring for the time and to me there is an adorable sensual charm about her. Their visual style often stunning and some of the most imaginative and ahead of its time in animation. While the the products featured here were unauthorized, they are of historical interest and certainly speak to the longevity of two beloved figures of early animation who captured our hearts nearly 90 years ago, and are still going strong.Fleischer were responsible for some brilliant cartoons, some of them still among my favourites. Though the artwork was often poor – sometimes only barely resembling the characters they were meant to represent - these inexpensive items, which were often sold through catalog companies such as Montgomery Ward or Sears, express the innovation and imagination of the manufacturers who created them. Made by small enterprises in Japan for the US popular market, no records were kept of who created many of the unauthorized toys, plates and cards featuring Betty Boop, Mickey Mouse and a whole host of other well-known characters. The unlicensed products below - featuring Betty Boop and Mickey Mouse - were not authorized by either studio. Most were produced in 1930s Japan, where copyright infringement laws were not actively enforced. While Betty and Mickey have been celebrated icons of animation for decades and to this day can be found on everything from shirts to plates to shoes - they even have their own emojis! - the fact that they were developed by competing studios means you won't find them together. Usually. that I said he's got great taste in directors." His message to Disney: "You tell Walt one thing from me. "You go ahead and take it," Max told his son. It was 1952 when Disney offered Richard the opportunity to direct a film for him but, as he relates in his book Out of the Inkwell: Max Fleischer and the Animation Revolution, he felt he couldn't take the job without first getting his father's blessing. Even Max's son, film director Richard Fleischer, worked with Disney!
BETTY BOOP HAPPY BIRTHDAY FOR HIM FULL
In fact, when Max Fleischer visited Disney during a trip to California in 1956, he had lunch with an entire table full of animators who had once worked with Max and who, in 1956, were working for Disney.
Though Disney and Fleischer were most often viewed as competing studios - and they were indeed competitors in the marketplace - the two studios had a number of talented and imaginative animators in common.Īnimation was still a relatively new medium in the 1930s, and it was not uncommon for animators to move from one studio to another and sometimes back again.
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